Mark Turner “Dharma Days” Warner
Bros.
Mark Turner “Dharma Days” Warner
Bros.
Tenor saxophonist Mark Turner’s newest album,
“Dharma Days,” enters the music world not with a bang,
but a whimper. Most of the songs simmer on the back burner, leaving
listeners wondering where the energy went. The album,
Turner’s sixth as a leader, has an understated, soft feeling.
It’s not music that makes heads nod to a grooving beat;
it’s more cerebral. Listeners have to be attentive to catch
the subtle group interactions and complicated improvisations.
Turner, who composed all the songs, plays the tenor saxophone as if
he were walking on eggshells; his tone is light and almost
delicate. His sound is nonaggressive and he doesn’t attack
the music like other saxophonists would. Instead, Turner weaves
notes around the songs that give them a mellow feel. “Dharma
Days” features a number of extended compositions, with three
of them each almost 10 minutes long. Every song features tenor
sax-guitar harmonies and unison lines that give the the album a
unique signature, an ethereal feeling, like floating in a vacuum.
Some of the nine songs resemble each other, and they pass through
the listener’s ears without making much of an impact. There
are, however, a couple songs that do catch fire, like
“Myron’s World” and “Dharma Days.”
The melodies are complicated but the quartet’s improvisations
are impressive. “Casa Oscura,” a 10-minute song, is
interesting because of its multiple themes. Propelled by an
easygoing, quasi-bossa nova rhythm, Kurt Rosenwinkel’s guitar
solo slides nimbly along the choruses, supported by Reid
Anderson’s freewheeling bass lines and Nasheet Wait’s
solid drum accompaniment. Note the contrast between the shimmery
voices of Turner’s saxophone and Rosenwinkel’s guitar
against Waits’ drumbeats on “Zurich.” It is a
contrast of slow, wispy melodies against a busy and complex
military/funk drumbeat. It’s an interesting juxtaposition. If
Turner set out to make a montage of soundscapes, albeit a subdued
one, he succeeded.
Chris Young Rating: 5
John Frusciante “To Record Only Water for Ten
Days” Warner Bros.
The beautiful ramblings of a mad man. The pop melodies of a
musical genius. John Frusciante of the Red Hot Chili Peppers has
prepared a quick glimpse into his bizarre mind with his solo album,
“To Record Only Water for Ten Days.” The music may be
for an acquired taste, but the rewards that come are well worth the
effort. A master at creating strange melodies and moods, Frusciante
has put together an intimate, passionate gem. The 15 songs of the
album lead listeners through a journey into the depths of the
emotions of a cleaned-up drug addict. Frusciante might as well have
been considered dead just a few short years ago when he found
himself rock-bottom and addicted to heroin, but he has since
sobered up and is creating the best music of his career. The
stretching, high-pitched vocals of “Wind Up Space” and
the squealing emotion in Frusciante’s guitar work offer an
almost embarrassingly personal feel to the music.
Frusciante’s voice is not very sweet and smooth sounding, but
that is part of the impact. Although it can be considered as the
guitar virtuoso’s weak point, Frusciante’s voice brings
brutal honesty and reality to the mix. After all, this record was
recorded with a guitar, drum machines, a few microphones and an
8-track; Frusciante was not after a polished sound. “To
Record Only Water for Ten Days” is a powerful escape from the
glossy recording style of current music and a retreat back to
honesty. The mind-blowing complexity of the instrumental tunes
“Ramparts” and “Murderers” display
Frusciante’s skill and powerful understanding of his
instrument. The lyrics are that of a man who walks the thin line
between insanity and genius, with imagery that draws parallels to
the acid-induced writings of Kesey or Wolfe. The first track,
“Going Inside,” is especially potent with brilliant
guitar work and sharp poetry. The eerie vibe of the closing track,
“Moments Have You,” brings an end to the emotional
journey with rambled lyrics and a gentle acoustic guitar. Arising
from the depths of drug addiction, Frusciante has finally found
himself and he is sharing it with listeners through his music.
Chris Moriates Rating: 8